UNIVERSITY  OF  CALIFORNIA 


WHISTLER'S  PASTELS 
AND  OTHER  MODERN  PROFILES 


BY  THE  SAME  WRITER 

Aubrey  Beardslefs  Book- Plates.  1902. 

Aubrey  Beardslefs  Dranvings :  A  Catalogue  and  a  List  of  Criti- 
cisms. 1903. 

Whistler's  Art  DiEla  and  Other  Essays.  1 904. 

Whistler:  Notes  and  Footnotes  and  Other  Memoranda.  1907. 

Modern  Art  at  Venice  and  Other  Notes.  1910. 

The  Portraits  of  Albert  Gallatin  (1761-1849),  Statesman,  Diplo- 
mat, Financier.  1911. 

A  Fifteenth  Century  Mazer.  1912. 

Whistlers  Pastels  and  Other  Modern  Profiles.  1912.  [New  edition, 
enlarged,  1913.] 

The  Portraits  and  Caricatures  of  James  McNeill  Whistler:  An 
Iconography.  1913.  [In  preparation.] 


WHISTLER'S  PASTELS 
AND  OTHER  MODERN  PROFILES 

BY 

A.  E.  GALLATIN 


NEW  EDITION 


NEW  YORK  :  JOHN  LANE  COMPANY 

LONDON  :  JOHN  LANE,  THE  BODLEY  HEAD 

MDCCCCXIII 


Copyright,  1913,  by  Albert  Eugene  Gallatin 
All  rights  reserved 


Art 
Library 


NOTE 

My  remarks  on  the  exhibitions  of  the  International 
Society  and  those  on  Homer  and  Zorn  are  printed 
here  through  the  courtesy  of  Art  and  Progress.  T'he 
notes  on  '•'•Max"  and  Frieseke,  which  have  been 
added  to  this  edition,  also  made  their  first  ap- 
pearance in  that  journal,  ^he  appreciation  of 
Haskell  is  reprinted  by  permission  from  tfhe  In- 
ternational Studio. 
r-^j 

¥0  Mr.  Burton  Mansfield  and  Mr.  Harris  B. 
Dick  I  am  indebted  for  permission  to  reproduce 
an  hitherto  unpublished  pastel  and  an  hitherto 
unpublished  water-colour  by  Whistler  in  their  re- 
specJive  possession.  In  addition  to  fkese,  the  three 
slight  sketches  by  the  same  master  which  have  been 
reproduced  as  one  plate  have  also  been  substituted 
for  certain  illustrations  which  appeared  in  the 
first  edition  of  this  book,  as  have  the  reproductions 
after Forain,  Conder,  "Max"  Frieseke  andShinn's 
French  Music  Hall. 

A.  E.  G. 

O} 

New  Tort,  February,  1913. 


CONTENTS 

WHISTLER:  THE  PASTELS,  CHALK 
DRAWINGS  AND  WATER-COLOURS  3 

THE  ART  OF  ERNEST  HASKELL  13 

TWO  EXHIBITIONS  OF  THE  INTER- 
NATIONAL SOCIETY :  A  SET  OF  NOTES        21 
NICHOLSON  :  ORPEN  :  FORAIN  I  PAUL  TROU- 
BETZKOY:  CONDER:  KEENE:  BEARDSLEY 

AN  ETCHING  BY  ZORN  33 

WINSLOW  HOMER:  THE  MEMORIAL 
EXHIBITION  39 

"MAX:"  CARICATURIST  45 

THE  PAINTINGS  OF  FREDERICK  C. 
FRIESEKE  51 

THE  PASTELS  AND  RED-CHALKS  OF 
EVERETT  SHINN  59 


ILLUSTRATIONS 

These,   excepting    the    Frontispiece,  are 
placed  together  at  the  end  of  each  paper. 

WHISTLER 

VENICE  Frontispiece 

From  the  hitherto  unpublished  pastel  in  the  pos- 
session of  Burton  Mansfield,  Esq. 

ON  THE  MERSEY 

From  the  hitherto  unpublished  water-colour  in  the 
possession  of  Harris  B.  Dick,  Esq. 

SOTTO  PORTICO  —  SAN  GIACOMO 

From  the  pastel,  originally  published  in  the  first 
edition  of  this  book,  in  the  possession  of  William  B. 
Osgood  Field,  Esq. 

PORTRAIT  OF  WHISTLER 

From  the  chalk  drawing,  originally  published  in 
the  first  edition  of  this  book,  in  the  possession  of 
Messrs.  Colnaghi  &  Obach. 

STUDIES 

From  the  hitherto  unpublished  sketches  in  chalk  on 
brown  paper  in  the  author's  collection. 


v 


A  VENETIAN  PALACE 

From  the  two  chalk  studies,  originally  published 
in  the  first  edition  of  this  book,  in  the  possession  of 
William  B.  Osgood  Field,  Esq. 

ERNEST  HASKELL 

THE  VALE 

From  the  pen  and  ink  drawing,  originally  pub- 
lished in  the  first  edition  of  this  book,  in  the  author's 
collection. 

FORAIN 

LE  CAFE 

From  the  drawing  in  the  author's  collection. 

CHARLES  CONDER 

LA  FILLE  AUX  YEUX  D*OR 

From  the  hitherto  unpublished  pen  and  ink  sketch 

in  the  author's  collection. 


ZORN 


THE  BATHERS 

From  an  etching. 


C    «    ] 

WINSLOW  HOMER 


PALM  TREE,  NASSAU 
water-colour. 


FISHING-BOATS,  KEY  WEST 

From  a  water-colour. 

"MAX" 

LORD    CHESTERFIELD    CONSERVING    THE 
FAMILY  TRADITIONS 

From  the  water-colour  in  the  author's  collection. 

FREDERICK  C.  FRIESEKE 

BREAKFAST   IN  THE    GARDEN 

From  a  painting. 

EVERETT  SHINN 

A  FRENCH  MUSIC-HALL 
From  a  pastel. 

PARIS:  EARLY  MORNING 
From  a  pastel, 


WHISTLER 


WHISTLER 

THE  PASTELS,  CHALK   DRAWINGS  AND 
WATER-COLOURS 


AL  supremely  great  works  of  art  are 
great  because  of  their  intrinsic 
beauty:  a  marble  from  Greece,  a  piece  of 
Chinese  porcelain,  a  bronze  statuette  of 
the  Italian  Renaissance,  a  piece  of  enamel 
or  chased  gold  by  Cellini,  and  a  painting 
by  Velasquez  might  be  grouped  together 
with  the  greatest  harmony  and  unity  of 
purpose;  they  speak  the  same  language 
and  have  everything  in  common.  And 
with  them  could  be  placed  a  Whistler,  for 
he  also  had  "the  mark  of  the  gods  upon 
him."  'In  all  of  Whistler's  works — paint- 
ings, water-colours ,  pastels  ,etchings ,  dry- 

'"/^i?  have  then  but  to  wait — until ,  with  the 
mark  of  the  gods  upon  him  —  there  come  among  us 
again  the  chosen  —  who  shall  continue  what  has 
gone  before"  WHISTLER'S  'T'en  O'Clock. 


C  4  ] 
points,  lithographs  and  dra  wings — we  are 

impressed  by  their  distin6lion  and  ele- 
gance, for  always  was  Whistler  an  aris- 
tocrat. Into  an  age  dominated  by  commer- 
cialism, vulgarity  and  the  spirit  to  gain, 
came  Whistler  with  his  unflinching  de- 
votion to  beauty  and  to  the  search  for 
perfection. 

Some  thirty  of  Whistler's  paintings,  cho- 
sen to  illustrate  the  development  of  his 
art,  were  shown  during  the  spring  of  1 9 1  o 
at  the  Metropolitan  Museum  of  Art;  sup- 
plementing them  was  a  group  of  half  this 
number  of  the  artist's  pastels. 

One  could  not  place  in  an  artist's  hands 
a  more  sympathetic,  intimate  and  alto- 
gether delightful  medium  of  artistic  ex- 
pression than  the  pastel.  The  several 
ways  in  which  it  may  be  employed  are 
illustrated  by  the  masterly  portraits  in  red 


C  5   ] 

and  black  of  Holbein,  executed  in  line;  by 
the  exquisite  studies  in  coloured  crayons 
of  figures  and  draperies  by  Watteau  and 
Boucher;  by  the  portraits,  rubbed  in  and 
stumped, of  La  Tour,  which  are  so  charm- 
ing and  gracious  in  spite  of  the  facl  that 
his  eyes  have  penetrated  to  the  very  souls 
of  his  sitters;  and,  finally,  by  Whistler's 
drawings  upon  brown  paper,  with  the 
added  decisive  touches  of  alluring  colour, 
which  have  put  the  charm  of  Venice  be- 
fore us. 

For  Whistler  the  pastel  was  certainly 
an  ideal  medium.  Etching  and  lithography 
were  eminently  adapted  for  his  needs  and 
very  suitable  vehicles  for  giving  expres- 
sion to  his  refined  and  elegant  art:  all 
his  efforts  in  these  directions  are  preg- 
nant with  suggestion  and  executed  with 
a  crisp  and  magical  line.  But  in  the  pastels 
we  have  the  artist's  wonderful  colour  in 


:  en 

addition;  they  are  perfect  expressions  of 
his  genius. 

The  Venetian  pastels  were  an  entirely 
new  note  in  art:  as  in  all  the  other  various 
media  he  worked  in,  he  not  only  mastered 
it,  but  developed  its  possibilities  as  well. 
Dr.  Bode  speaks  of  "the  neatness  of  exe- 
cution and  the  beauty  of  colouring"  of  the 
great  Verm  eer,  and  how  aptly  these  words 
could  be  employed  in  describing  Whis- 
tler's pastels  of  Venice!  These  drawings, 
outlined  with  black  crayon  on  coloured 
paper,  usually  brown,  and  then  tinted 
with  pastel,  in  which  much  of  the  paper 
itself  is  visible,  are  marvellous  little  pic- 
tures, sparkling  with  sunlight, and  record- 
ing the  very  spirit  of  the  city  in  the  sea. 
His  subjects  were  always  unhackneyed 
and  treated  in  an  entirely  personal  way. 
These  pastels,  with  their  amazing  tech- 
nique,— the  lines  are  broken,  as  in  the 


C  7  ] 

Venetian  etchings, —  possess  that  "im- 
press of  a  personal  quality,"  as  Walter 
Pater  said  of  Luca  della  Robbia,"a  pro- 
found expressiveness,  what  the  French 
call  intimite,  by  which  is  meant  some  sub- 
tler sense  of  originality — the  seal  on  a 
man's  work  of  what  is  most  inward  and 
peculiar  in  his  moods  and  manner  of  ap- 
prehension." The  studies  in  black  chalk 
which  Whistler  made  of  Venetian  palaces, 
two  of  which  are  reproduced  herewith, 
contain  as  well  as  the  pastels  the"  impress 
of  a  personal  quality." 

The  artist  executed  innumerable  ex- 
ceedingly graceful  studies  and  sketches  in 
pastel  and  chalk  of  the  nude  and  of  dra- 
peries, as  well  as  many  engaging  portrait 
studies  in  chalk,  such  as  the  self-portrait 
here  reproduced.  Much  closer  do  we  get 
to  an  artist  in  such  spontaneous  studies 
as  these  than  in  his  more  elaborate  paint- 


[   8   ] 
ings:  the  collections  of  drawings  by  the 

great  masters  contain  examples  which  are 
much  more  appealing,  because  more  per- 
sonal, than  many  of  the  huge,  laboriously 
wrought  canvases,  so  often  the  work  of 
apprentices,  which  cover  the  interminable 
walls  of  endless  museums.  Nothing  in 
the  whole  range  of  Whistler's  art  is  finer 
in  quality  than  such  a  design  of  his  as 
the  Venus  Astarte,  which  is  comparable 
to  a  Tanagra,  while  certain  other  of  the 
nudes  and  lightly  draped  figures,  some  of 
them  in  their  accessories  containing  a  de- 
cided Japanese  motive,  are  also  possessed 
of  the  true  classic  spirit. 

Whistler's  water-colours  are  as  perfect 
in  their  way  as  the  pastels.  The  artist  has 
never  strained  his  medium, hasnever tried 
togetthe  same  results  as  if  using  pigment. 
Very  often  his  drawings  in  water-colour 
are  not  much  more  than  notes,  with  the 


c  9 .: 

result  that  they  are  always  surprisingly 
spontaneous  and  fresh  in  appearance,  and 
that  his  delicate  and  transparent  washes 
of  captivating  colour  are  always  a  delight. 
What  Viollet-le-Duc  wrote  of  the  lead- 
workers  of  the  Middle  Ages,  and  the  rea- 
son for  the  charm  existing  in  their  work, 
is  also  true  of  Whistler's  water-colours : 
"The  means  they  employed  and  the 
forms  they  adopted  are  exactly  appro- 
priate to  the  material/' 


WHISTLER 

On  the  Mersey 


WHISTLER 

Sot  to  Portico — San  Giacomo 


WHISTLER 

Portrait  of  the  sirtist 


S      %\wlP^s 

\     «>?;>•?••> 


'*>''>' 


In  r  ess  o 

i  -=atafci|  ^ 


THE  ART  OF  ERNEST  HASKELL 


THE  ART  OF  ERNEST  HASKELL 

UNTIL  the  spring  of  191 1 ,  when  an 
exhibition  of  his  work  was  held  in 
New  York,  Ernest  Haskell's  exquisite  art 
was  known  only  to  the  more  discriminat- 
ing and  observing  of  amateurs.  And  to 
them  only  through  scattered  decorative 
designs  in  certain  periodicals  and  by  the 
artist's  immensely  clever  and  amusing  pas- 
tel of  Mrs.  Fiske,  and  charcoal  drawing, 
tinged  with  caricature,  of  Mr.  Whistler, 
which  have  been  frequently  reproduced. 
The  exhibition  proved  to  be  one  of  the 
most  interesting  and  important  one-man 
shows  of  the  season,  and  introduced  to 
us  the  work  of  a  young  American  artist 
whose  genius  is  of  the  creative  order  and 
whose  art  is  most  personal.  Rare  qualities, 
indeed ! 

Just  as  Whistler  to  the  last  was  always 


C    14  D 

a  student,  so  is  Haskell  an  experimenter, 
and  his  point  of  view  is  invariably  fresh 
and  engaging.  In  his  decorations  in  black 
and  white,  pastel  portraitdra wings, mono- 
types, lithographs,  etchings,  pencil  draw- 
ings and  silver-points — and  examples  of 
all  these  were  shown — one  is  constantly 
impressed  with  the  great  individuality  of 
the  artist,  as  well  as  with  the  style  and 
distinction  which  dominate  his  art.  One  is 
also  amazed  at  the  versatility  of  this  man, 
who  has  conquered  so  many  media,  for, 
in  addition  to  those  enumerated,  Haskell 
has  done  work  in  oils  and  in  water-colour, 
besides  some  modelling  in  wax. 

In  his  work  in  black  and  white  Haskell 
has  executed  some  really  notable  draw- 
ings. His  landscapes  vibrate  with  light  and 
air,  and  his  treatment  of  trees  and  foliage, 
which  are  always  drawn  direcl:  from  na- 
ture, is  quite  extraordinary  and  compara- 


C  15  n 

ble  in  quality  to  Maxfield  Parrish's,  while 
the  rendering  of  cloud  effe<5ts  is  also  very 
beautiful.  The  wealth  of  minute  detail 
employed  in  these  drawings  detracts  no 
more  from  the  general  composition  than 
it  does  from  a  drawing  by  Beardsley  or 
an  etching  by  Diirer,  the  design  always 
being  intensely  decorative  in  feeling.  The 
portrait  drawings — the  majority  of  them 
done  with  pastels,  in  which  a  much 
more  flexible  and  supple  line  has  been 
employed — are  charming  and  gracious, 
even  if  they  are  not  invariably  faithful 
likenesses  of  the  subjects.  The  question 
whether  or  not  a  likeness  is  necessary  to 
make  a  picture  great  is  an  interesting 
one;  in  his  wonderfully  illuminative  con- 
versations with  Paul  Gsell,  Rodin  states 
that  the  resemblance  which  the  artist 
ought  to  obtain  is  that  of  the  soul. 
The  artist's  monotypes,  some  of  which 


C   16  ]] 

have  been  worked  on  in  pastel,  have  been 
most  skilfully  executed  and  display  a  sound 
knowledge  of  the  resources  of  the  tech- 
nique of  this  fascinating  form  of  reproduc- 
tion. Several  of  these  monotypes,  in  par- 
ticular those  of  young  girls  in  quaint  cos- 
tumes, were  most  captivating — alluring 
in  colour,  as  well  as  agreeable  in  compo- 
sition. The  silver-point,  that  most  delicate 
of  all  media,  involving,  as  it  does,  the  most 
exacl  kind  of  draughtsmanship,  it  would 
seem  must  have  been  invented  expressly 
for  the  display  of  this  artist's  talents,  so 
delightful  are  his  drawings  made  in  the 
manner  so  closely  linked  with  the  name 
of  Legros,  and  before  him  with  that  of 
Leonardo. 

Haskell  has  made  a  number  of  very 
brilliantly  executed  etchings,  including 
a  charming  series  known  as  The  Paris 
Set,  which  at  times  suggest  Whistler, 


C   17] 

without  being  a6tually  imitative.  Others 
display  an  intelligent  study  of  the  plates 
of  Rembrandt  and  Diirer.  He  has  also 
produced  some  extremely  beautiful  litho- 
graphs, that  of  Miss  Maude  Adams,  as 
Juliet,  being  particularly  delightful,  while 
the  Nude  shown  at  this  exhibition  was 
comparable  to  one  of  Charles  Shannon's 
stones,  so  graceful  it  was,  so  vaporous 
and  full  of  suggestion. 

Arthur  Symons  once  said:  "Taste  in 
Whistler  was  carried  to  the  point  of  gen- 
ius, and  became  creative."  This  is  also 
true  of  Haskell,  for  he  takes  as  much  pains 
in  placing  his  name  or  signature  device 
upon  a  design  as  did  Whistler,  and  always, 
like  Whistler's  "butterfly,"  it  is  a  neces- 
sary part  of  the  composition.  His  frames, 
usually  made  of  natural  wood,  are  inva- 
riably severely  simple,  while  the  mats, 
of  exactly  the  correcl  proportions,  often 


C   '8   ] 

have  been  decorated  by  the  artist,  and 
sometimes  have  on  them  a  border  of 
brown  lines  and  gold  stripes,  with  water- 
colour  wash — as  decorative  prints  were 
framed  in  France  in  the  eighteenth  cen- 
tury. 


!P^^ 

^  $M 


ERNEST    HASKELL 

The  Fak 


TWO  EXHIBITIONS  OF 
THE  INTERNATIONAL  SOCIETY 


TWO  EXHIBITIONS  OF 
THE   INTERNATIONAL   SOCIETY 

A  SET  OF  NOTES 

I 

THE  annual  exhibition  of  the  Inter- 
national Society  of  Sculptors,  Paint- 
ers and  Gravers,  held  in  London  during 
the  spring  of  191  1,  was  one  of  great  in- 
terest. It  contained  many  more  paintings 
of  vital  importance  than  were  shown  atthe 
Royal  Academy  —  the  latter  being  about 
as  inspiring  as  the  Paris  Salon.1  Founded 
in  1898,  Whistler  was  the  first  president 
of  the  International  Society,  which  office 
he  held  until  his  death,  when  he  was  suc- 
ceeded by  Rodin.  Among  the  members 
are  artists  of  such  real  genius  as  William 


cleverest  works  are  always  to  be  seen  at  the 
Salon  desHumoristes;  these  amiable  drawings 
long  outlive  the  blatant  Salon  pictures. 


C    22    ] 

Orpen,  William  Nicholson,  D.  Y.  Cam- 
eron, James  Pryde,  Charles  Shannon  and 
William  Strang,  while  Forain  and  Paul 
Troubetzkoy  also  exhibited  this  year. 

William  Nicholson  was  represented  by 
a  splendidly  painted  portrait  of  F.  Nash, 
Esq. ;  his  name  and  William  Orpen's  are 
two  of  the  greatest  in  contemporary  art. 
Nicholson's  composition  and  colour  are 
as  notable  as  they  used  to  be  in  the  days 
of  the  marvellous  wood-cuts, — which 
some  day  will  be  treasured  by  the  greatest 
amateurs  ofl'estampe, — and  higher  praise 
than  this  is  not  possible.  The  enamel-like 
surface  of  his  pigment  is  also  an  aesthetic 
delight,  his  modelling  and  rendering  of 
values  masterful.  It  was  these  qualities 
that  made  his  exhibition  at  the  Goupil 
Gallery  the  same  spring  proclaim  him  to 
be  a  master  of  his  craft. 

William  Orpen  sent  a  picSlure  entitled 


[23   3 

The  Knacker's  Yard,  Dublin,  a  canvas 
particularly  notable  for  its  superb  com- 
position, containing  great  imposing  empty 
spaces.  The  artist's  paintings  at  the  Royal 
Academy  ( for  that  institution  has  strangely 
enough  had  the  sagacity  to  elecl:  him  an 
associate  member)  were  by  far  the  most 
interesting  works  shown  there.  Certainly 
with  Nicholson  and  Orpen,  and  the  other 
men  belonging  to  their  group,  to  carry 
along  her  glorious  traditions  founded 
by  Hogarth,  Reynolds,  Romney,  Gains- 
borough and  Raeburn,  British  art  may 
well  ex  peel  a  renaissance;  for  it  is  not  an 
exaggeration  to  say  that  these  men  are 
great  artists. 

The  genius  of  Degas  and  his  supreme 
powers  of  draughtsmanship  were  illus- 
trated by  a  Danseuse,  very  typical  of  this 
phase  of  his  wonderful  art,  while  that  of 
his  understudy,  Forain,  was  shown  by  a 


[   24   ] 

group  of  etchings,  paintings  and  pastels. 
This  artist,  like  his  master,  is  an  im- 
mensely clever  draughtsman,  his  realism 
as  unflinching  and  his  vision  as  penetrat- 
ing and  cruel.  Forain's  etchings  possess 
great  technical  beauty  and  are  full  of 
strong  characterization;  his  line  is  as 
expressive  and  telling  as  that  of  a  master 
from  Japan.  But  his  work  at  times  is  too 
much  an  echo  of  Degas — frequently  it  is 
veritable  caricature.  How  differently  has 
the  charming  art  of  Mary  Cassatt  been 
inspired!  Forain  is  to  Degas  what  Jor- 
daens  was  to  Rubens,  Boucher  to  Watteau, 
Walter  Greaves  to  Whistler.  One  might 
say  that  these  artists  exposed  the  failings 
and  the  "tricks"  of  their  masters. 

The  few  pieces  of  sculpture  which 
adorned  the  exhibition  were  of  a  high  or- 
der: two  examples  of  Rodin's  great  art, 
one  in  bronze,  one  in  marble,  and  two 


examples  of  Prince  Paul  Troubetzkoy's 
sculpture  being  conspicuous  among  them. 
The  exhibition  of  sculpture — together 
with  a  few  of  the  artist's  paintings — held 
in  New  York  at  the  Hispanic  Society  dur- 
ing the  winter  of  1911  showed  us  that  in 
Paul  Troubetzkoy  contemporary  sculp- 
ture possesses  one  of  her  most  interesting 
exponents.  The  genius  of  this  Russian  is 
a  force  secondary  only  to  such  men  as 
Rodin  and  Meunier.  His  sculpture  is  most 
spirited  and  full  of  vitality :  here  we  have 
nothing  of  alleged  "classicism."  His  men 
and  animals  vibrate  with  life,  as  Monet's 
landscapes  and  marines  vibrate  with  light. 
The  sculptor's  range  of  subjecls  is  varied, 
his  versatility  very  marked.  In  his  work 
we  find  most  charming  statuettes  of 
women,  children  and  men,  extremely 
lifelike  animal  subje&s,  genre  pieces,  life- 
size  figures  and  busts,  as  well  as  eques- 


C    26] 

trian  statues.  And  in  all  this  work  we  find 
equally  brilliant  modelling,  a  refreshingly 
original  technique,  animation  and  an  in- 
tensely modern  note.  His  art  is  linked 
as  closely  with  his  age  as  Donatello's 
was  linked  with  his. 

ii 

AN  exhibition  intended  to  illustrate  the 
more  important  tendencies  of  English  and 
French  art  in  the  past  hundred  years 
was  arranged  in  London  during  the  early 
summer  of  1911,  under  the  auspices  of 
the  International  Society  of  Sculptors, 
Painters  and  Gravers.  The  exhibition 
could  scarcely  be  considered  as  being 
a  comprehensive  survey  of  these  years, 
owing  to  the  fa 61  that  Impressionism,  the 
most  important  movement  of  this  period, 
was  almost  totally  ignored;  but  it  was,  at 
the  same  time,  an  important  assemblage 


c  27 : 

of  vitally  interesting  works,  of  which  the 
section  of  the  exhibition  termed  "an  his- 
torical survey  of  the  graphic  arts  of  the 
nineteenth  century"  was  an  interesting 
feature. 

That  Charles  Conder  was  possessed  of 
an  exquisite  art  was  demonstrated  by  the 
twenty-four  examples  of  his  work  in  oil 
and  in  water-colour  which  were  shown. 
The  little  paintings  made  on  the  beach 
at  Dieppe  were  as  deliciously  pure  in 
colour  and  tone,  and  their  washes  of  lim- 
pid pigment  as  seduclive,  as  if  Whistler 
had  painted  them.  The  fans  and  panels, 
painted  with  water-colours  upon  silk ,  were 
as  delicate  and  charming  as  the  work  of 
a  French  master  of  the  eighteenth  cen- 
tury: the  Boudoir  Fan  and  La  Fille  aux 
Yeux  d'Or  were  seldom  excelled  in  grace 
by  Lancret  or  Pater.1  One  only  regretted 
l"Conder's  paintings  are  like  lyrical  poems  or 


C  28  3 

the  omission  of  examples  of  the  litho- 
graphs: these,  printed  in  sanguine,  are 
exceedingly  beautiful,  and  surely  the 
most  romantic  drawings  ever  made!  A 
set  of  them  was  shown  in  New  York  dur- 
ing December,  1911,  in  connection  with 
a  most  important  loan  exhibition  of  Con- 
der's  art. 

The  pen  and  ink  drawings  of  Charles 
Keene,  considered  by  Whistler  the  great- 
est English  artist  since  Hogarth,  com- 
prised a  selection  of  his  famous  work  for 
Punch.  Immensely  clever  these  were, dis- 
play ing  marvellous  insight  into  character, 
full  of  quiet  humour,  and  executed  with  a 
dextrous  and  facile  technique:  in  a  word, 
masterpieces  of  their  kind,  which  have 

inspired  melodies tfhe  creatures  of  his  delicate 

fancy  move  about  in  an  engaging  world  of  heroic 
landscapes  and  enchanted  gardens,  tfhe  pictures 
are  arabesques  of  sumptuous  women  basking  in 
their  own  glorious  beauty"  MARTIN  BIRNBAUM. 


C   29  1 

never  been  excelled.  Keene's  great  tra- 
ditions— inherited  from  Daumier — were 
for  a  time  worthily  carried  along  by  Phil 
May,  also  a  genius  in  this  particular 
branch  of  art,  although  as  regards  de- 
sign he  was  far  from  being  the  equal  of 
the  former. 

The  extraordinary  genius  of  Aubrey 
Beardsley  was  illustrated  by  five  of  the 
Salome  drawings  and  his  Siegfried.  The 
Salome  designs  are  marvellous  perform- 
ances that  rank  high  among  the  master- 
pieces of  black  and  white,  and  yet  one 
would  much  rather  have  had  any  of  the 
engaging  Rape  of  the  Lock  "embroider- 
ings,"  with  their  fine  eighteenth  century 
flavour,  or  certain  of  the  Savoy  draw- 
ings in  their  stead.  Beardsley 's  instinct 
for  decoration,  his  great  gifts  as  an  orna- 
mentist,  his  unerring  genius  for  balancing 
black  and  white  masses, his  wonderful  line 


c  30 : 

and  the  sense  of  colour  in  his  work  are 
all  factors  which  proclaim  him  to  be  the 
master  of  black  and  white:  no  artist  work- 
ing with  pen  and  ink  upon  white  paper 
has  ever  obtained  such  amazing  results. 
This  contention,  it  may  be  mentioned, 
was  fully  borne  out  after  seeing  an  ex- 
hibition of  originals,  the  most  complete 
ever  gathered  together,  which  was  held 
in  New  York  during  the  autumn  of  1 91 1 . 
Certain  of  the  studies  by  the  Old  Masters 
which  are  executed  in  pen  and  ink — 
Diarer's  in  particular — possess  a  "loose- 
ness" of  handling  that  is  most  engaging, 
and  which  by  comparison  may  make 
Beardsley's  execution  appear  at  times 
rather  "tight.  "But  nothing  is  to  be  gained 
by  comparing  such  sketches,  produced  in 
the  white  heat  of  inspiration,  with  the 
highly  wrought  compositions  of  Beards- 
ley,  for  they  have  but  little  in  common. 


F  O  R  A  I N 
Le  Cafe 


CHARLES   CONDER 
La  Fille  aux  Teux  <i'0r 


AN  ETCHING  BY  ZORN 


AN  ETCHING  BY  ZORN 

THE  feature  that  impressed  us  most 
of  all  at  the  special  display  of  Zorn's 
vigorous  paintings  shown  at  the  exhibi- 
tion of  contemporary  art  held  at  Venice 
in  1909, as  well  as  at  the  collection  shown 
a  year  or  two  previously  by  Durand- 
Ruel  in  Paris,  was  the  artist's  tremendous 
joie  de  vivre.  He  is  a  pagan,  intoxicated 
with  life  and  revelling  in  colour  and  form. 

Zorn's  art  is  coarse  only  in  the  sense 
that  this  adjective  might  be  applied  to 
Hals,  for  Zorn  is  a  great  artist  and  a 
brilliant  technician.  As  James  Huneker 
expresses  it  in  his  Promenades  of  an  Im- 
pressionist, that  stimulating  conglomer- 
ation of  art  criticism,  he  is,  "in  a  word, 
a  man  of  robust,  normal  vision,  a  realist 
and  an  artist." 

These  qualities  are  also  apparent  in  the 


C  34  ] 

etchings,  and  one  welcomed  the  chance 
given  by  a  New  York  dealer  in  the  spring 
of  1911  to  view  a  most  representative 
group  of  the  artist's  coppers,  eighty-seven 
in  number.  In  the  more  recent  plates, 
however,  of  which  that  reproduced  here- 
with is  an  example,  there  is  an  evanescent 
quality,  delicacy  and  refinement  of  his  art 
not  found  in  the  earlier  examples  of  his 
etched  work.  The  vision  of  the  artist  is 
still  as  intensely  searching,  his  love  of 
nature  just  as  apparent,  but  the  technique 
is  infinitely  more  subtle  than  that  em- 
ployed in  such  of  his  etchings  as  the  mas- 
terly study  of  Ernest  Renan,  one  of  the  ar- 
tist's greatest  plates.  In  the  silvery  Bathers 
— Swedish  peasants  unabashed  in  their 
nudity — we  have  such  an  etching  that 
leads  a  critic  of  his  art  to  inquire:  "  Who 
save  Zorn  has  ever  etched  a  triumphantly 
successful  nude  en  plein  air?  " 


C   35  p 

Rembrandt  and  Whistler  are  certainly 
the  undisputed  masters  of  the  etching- 
needle,  but  second  only  to  them  fol- 
lows this  virile  Swede,  in  company  with 
Meryon,  Cameron  and  one  or  two  others. 


WINSLOW  HOMER 


WINSLOW  HOMER 

THE  MEMORIAL  EXHIBITION 

WINSLOW  HOMER'S  art  was  typi- 
cally American,  and  in  many 
respe<5ls  he  was  the  most  representative 
painter  that  this  country  has  produced. 
Our  early  artists  were  imitative  to  a  large 
extent,  their  canvases  painted  according 
to  deeply  rooted  European  traditions,  but 
in  Homer  we  produced  a  man  whose 
art  was  splendidly  national.  His  style 
does  not  appear  to  have  been  influenced 
by  the  work  of  any  other  painter,  and 
his  composition  and  technique,  so  direcl: 
and  straightforward,  were  entirely  his 
own. 

No  painter  has  excelled,  and  but  one  or 
two  have  equalled,  Homer  in  depicting 
the  majesty  and  overpowering  strength 
of  the  ocean,  its  sublimity  and  mystery. 


[   40   ^ 

His  marines  form  an  unrivalled  epic  of 
the  sea. 

It  was  eminently  fitting,  therefore, that 
the  Metropolitan  Museum  of  Art  should 
honour  this  painter,  a  few  months  after 
his  death  (the  artist  died  in  September, 
1910),  with  a  memorial  exhibition  of  his 
work,  as  they  did  in  the  spring  of  1910 
for  Whistler.  And  remarkably  interesting 
this  exhibition  proved  to  be. 

Born  in  1836,  Homer  came  of  New 
England  sea-faring  stock.  He  lived  for 
years  almost  the  life  of  a  recluse  among 
the  fisher-folk  of  Maine,  whom  he  has 
painted  with  so  much  fidelity  and  sym- 
pathy. Such  of  his  pictures  as  Watching 
the  Breakers,  a  High  Sea,  Eight  Bells  and 
The  Fisher  Girl,  display  a  most  intimate 
knowledge  of  these  sturdy  inhabitants  of 
the  rocky,  surf-beaten  coast  of  Maine.  It 
was  in  his  delineations  of  the  ocean,  how- 


[41    ] 

ever,  that  Homer's  genius  reached  its 
greatest  heights;  in  grasp  of  subject  and 
understanding  such  of  his  paintings  as 
Northeaster  and  Maine  Coast  have  never 
been  surpassed.  They  fairly  exhale  the 
spirit  of  the  mighty  deep.  Homer  also 
painted  a  number  of  pictures  strongly 
dramatic  in  their  appeal,  of  which  the  Un- 
dertow and  Gulf  Stream  are  examples, 
as  well  as  several  marvellously  lifelike 
pieces  of  animal  painting.  And  in  all  these 
pictures  we  have  the  same  sincerity  of 
purpose,  the  same  simplicity  of  composi- 
tion. These  qualities  are  also  true  of  his 
early  paintings, — studies  of  camp  life  and 
negro  scenes. 

The  group  of  twenty-seven  water-col- 
ours was  most  interesting  and  formed  an 
important  feature  of  the  exhibition.1  Par- 

*At  the  Pan-American  Reposition  Homer  chose  to 
be  represented  only  by  his  -wafer-colours. 


[  42   ] 

ticularly  delightful  were  those  made  in 
the  Bermudas  and  Bahamas  and  on  the 
coast  of  Florida;  here  the  severity  and 
ruggednessof  the  North  have  given  place 
to  the  brilliant  sunshine  of  the  South.  Joy- 
ous and  colourful  notes  these  are,  rapidly 
set  down  in  broad,  vigorous  washes. 
Homer  thoroughly  understood  both  the 
possibilities  and  limitations  of  the  water- 
colour  as  a  mode  of  artistic  expression ; 
his  drawings  were  executed  in  precisely 
the  right  manner  and  he  never  strained 
his  medium.  Sargent,  with  his  strong  and 
masterful  colour  notes  made  in  Venice, 
so  engagingly  unconventional  in  subject, 
and  Whistler,  with  drawings  in  turn  all 
that  is  delicate  and  suggestive,  also  un- 
derstood, as  did  Homer,  that  elaboration 
only  removes  all  that  is  fresh  and  charm- 
ing in  a  water-colour. 


WIN  SLOW    HOMER 

Palm  Tree,  Nassau 


WINSLOW    HOMER 

Fishing-Boats,  Key  West 


MAX:"   CARICATURIST 


"MAX:"  CARICATURIST 

ATER  a  morning  spent  among  the 
pictorial  anecdotes  of  the  Royal 
Academy,1  a  visit  to  an  exhibition  of 
caricatures  by  Max  Beerbohm,  held  at 
the  Leicester  Galleries  a  few  weeks  be- 
fore the  coronations  of  King  George  and 
Queen  Mary, proved  particularly  refresh- 
ing. 

"  Max's"  caricatures  are  as  deliciously 
witty  as  the  polished  cadences  of  his  in- 
comparable essays, which  Edmund  Gosse 
classes  with  those  of  La  Bruyere,  Addi- 
son  and  Stevenson.  Observes  another  as- 
tute critic :  "  He  is  as  old  as  Horace  and 
as  new  as  Charles  Lamb;  he  is  the  spirit 

1  William  Or  pen's  superb  portraits,  however,  are 
now  to  be  seen  at  the  Royal  Academy;  they  rank 
among  the  chief  glories  of  British  Art.  Nor  must 
-we  forget  Sargent  and  one  or  two  other  brilliant 
men. 


[  46  ] 

of  urbanity;  he  is  town."  He  is  a  true 
caricaturist,  a  master  of  this  "  serious  art 
which  makes  frivolity  its  aim,"  whose 
drawings  are  examples  and  classics  of 
their  kind.  And  how  few  true  caricatur- 
ists we  have  had  in  recent  years  besides 
Pellegrini  and  "Spy,"  whose  facetious 
pencils  never  gave  offence,  but  only 
charmed  by  their  subtle  humour. 

"Max"  once  wrote  a  most  engaging 
and  fantastical  sketch  entitled  The  Spirit 
of  Caricature,  which  unhappily  has  not 
been  preserved  in  any  of  the  volumes  of 
his  collected  essays,  in  which  he  described 
the  perfect  caricature  as  "that  which,  on 
a  small  surface,  with  the  simplest  means, 
most  accurately  exaggerates  to  the  high- 
est point,  the  peculiarities  of  a  human  be- 
ing, at  his  most  characteristic  moment, 
in  the  most  beautiful  manner." 

This  definition  is   also    an   excellent 


£47  ] 

description  of  one  of  "  Max's"  own  cari- 
catures, in  which  the  dominating  fea- 
tures of  his  subjecl  have  been  seized  upon 
and  emphasized:  with  the  fewest  possible 
strokes  of  his  pencil,  every  line  counting 
and  every  line  being  essential.  Although 
the  final  drawing  has  probably  been  exe- 
cuted in  a  very  short  time,  it  is,  never- 
theless, the  outcome  of  much  delibera- 
tion, the  subject  having  been  carefully 
studied  beforehand  and  many  preliminary 
sketches  made. 

Of  the  portrait  charge  of  the  Earl  of 
Chesterfield,  standing  by  the  side  of  a 
bust  of  his  famous  ancestor,  here  repro- 
duced, the  artist  writes  that  he  "drew 
the  cravette  and  the  buttonhole  first  of 
all,  and  the  rest  was  exhaled  corollarily 
from  them"!  This  pencil  drawing,  with 
its  deleclable  touches  of  water-colour, 
illustrates  very  well  the  points  made  by 


c  48  n 

L.  Raven-Hill  in  a  preface  to  a  collec- 
tion of  "  Max's  "  caricatures : "  His  instin<5t 
for  style  and  character  is  wonderful.  He 
gives  you  a  savage  epitome  of  a  man's 
exterior,  and  through  that,  the  quintes- 
sence of  the  man  himself.  He  is  a  psycho- 
logist in  drawing  if  ever  there  was  one." 


i 


i 


"MAX  " 

Lord  Chesterfield  Conserving  the  Family  Traditions 


THE  PAINTINGS  OF 
FREDERICK  C.  FRIESEKE 


THE  PAINTINGS  OF 
FREDERICK  C.  FRIESEKE 

FREDERICK  CARL  FRIESEKE  is  an 
American, — he  was  born  in  Michi- 
gan in  1874,  and  studied  at  the  Art  Insti- 
tute of  Chicago, — but  not  until  January, 
1912,  did  New  York  get  an  opportunity 
to  view  an  individual  exhibition  of  his 
paintings. 

In  Europe  the  work  of  Frieseke  is 
familiar  to  visitors  of  the  Salon  des  Beaux 
Arts,  the  biennial  exhibitions  of  modern 
art  at  Venice,  and  of  other  exhibitions, 
while  the  Luxembourg  has  purchased 
one  of  his  paintings,  as  have  galleries  at 
Vienna,  Odessa  and  Venice. 

Since  he  reached  his  twenty-fifth  year 
the  artist  has  elected  to  live  in  France, 
spending  his  summers  at  a  delightful  little 
place  in  the  country,  with  brilliant  and 


[  52   ] 

luxuriant  gardens.  This  is  where  the  ma- 
jority of  his  paintings  have  been  produced. 

The  collection  of  Frieseke's  canvases 
shown  in  New  York,  which  comprised 
a  group  of  seventeen  pictures,  was  quite 
representative  of  his  art,  containing  as 
it  did  the  riper  fruits  of  the  artist's 
genius.  Frieseke  is  a  pleinairiste  who  de- 
lights in  rendering  effects  of  sunlight 
upon  green  foliage ;  this  has  been  his  spe- 
cial study. 

Such  of  the  artist's  paintings  as  his  Re- 
pose at  Noonday  and  A  Sunny  Morning 
are  really  marvellously  clever  delinea- 
tions of  sunlight  and  vibrating  heat.  The 
Repose  at  Noonday,  a  picture  of  two 
young  women  in  a  woodland  nook,  dab- 
bling in  a  bit  of  quiet  water,  one  in  a  boat, 
the  other  on  the  leafy  bank,  was  painted 
from  half-past  eleven  until  half-past 
twelve  on  a  number  of  sunny  days  dur- 


[  53 : 

ing  midsummer,  the  models  taking  the 
same  poses,  and  gives  an  effect  known 
only  to  modern  art.  As  Hourticq  says  in 
his  Art  in  France,  it  is  "a  new  world" 
which  has  been  discovered  and  explored. 
This  rendering  of  sunlight  in  a  certain  lo- 
cality at  a  certain  hour  was  never  essayed 
by  the  Old  Masters. 

Other  of  the  artist's  pictures  in  the  ex- 
hibition, such  as  Among  the  Hollyhocks, 
and  Breakfast  in  the  Garden,  the  latter 
here  illustrated,  are  also  in  this  genre. 
A  Sunny  Morning,  a  garden  scene,  would 
have  amazed  the  Old  Masters,  who  never 
dreamed  that  the  effect  of  sunlight  could 
have  been  so  faithfully  and  dazzlingly 
reproduced.  The  technique  employed  is 
a  logical  development  of  Impressionism, 
which  at  first  was  often  rather  more  sci- 
entific than  artistic; the  knowledge  gained 
by  the  spectrum  is  here  apparent,  but 


C  54  H 

paraded  in  a  more  discreet  and  subtle 
manner  than  by  the  earlier  Impression- 
ists. 

Among  the  artist's  figure  subjects  his 
decorative  canvas  entitled  Youth,  which 
was  exhibited  at  the  1911  Paris  Salon  des 
Beaux  Arts,  is  a  beautiful  arrangement 
in  white,  which  well  illustrates  the  firm- 
ness of  his  modelling.  The  pi6lure  shows 
two  girls  at  their  dressing-table, —  of 
Louis  XVI  design,  as  is  the  chair  and  stool 
they  are  seated  on, — with  old  chintz  on 
the  wall. 

The  painter's  Autumn,  a  nude,  is  as 
vivid  in  its  delineation  and  as  sparkling 
as  a  painting  from  the  brush  of  Zorn, 
without  being  quite  as  naturalistic  and 
frank  in  its  vision.  La  Toillette,  which  the 
Metropolitan  Museum  has  acquired  by 
gift,  is  a  delightful  arrangement  of  de- 
licious colours:  agreeable  pale  blues  and 


C   55  J 

pinks  in  the  chintz  curtains  are  repeated 
in  the  vase  of  flowers  and  in  the  woman's 
garments.  It  is  also  extremely  pleasing 
on  account  of  its  composition;  in  fa<5t, 
design  is  one  of  this  artist's  strongest 
points. 


THE  PASTELS  AND  RED-CHALKS 
OF  EVERETT  SHINN 


THE  PASTELS  AND  RED-CHALKS 
OF  EVERETT  SHINN 

EVERETT  SHINN  is  the  possessor  of 
an  art  presenting  many  different 
aspe6ls  and  showing  influences  that  pro- 
claim widely  diverging  sympathies.  The 
truth  of  this  statement  is  apparent  when 
one  considers  the  artist's  paintings  and 
pastels  in  which  he  has  found  his  inspi- 
ration at  some  cafe  chant  ant,  with  all  its 
vivid  colour  and  glare  of  lights;  when 
one  considers  the  pastels  of  the  meaner 
streets  of  New  York  and  Paris,  the  mas- 
terly studies  in  red  chalk  from  the  nude, 
the  portraits,  done  almost  in  imitation  of 
oils,  after  the  manner  of  La  Tour,  the 
vivacious  decorations  executed  both  in  oil 
and  in  red  chalk  that  recall  a  French  mas- 
ter of  the  eighteenth  century ;  and,  finally, 
when  one  remembers  the  artist's  decora- 


C   60   J 

tive  pan  els,  executed  on  an  immense  scale 
and  intended  to  adorn  great  spaces.  It  is 
in  the  pastels  and  sanguine  drawings, 
however,  that  we  find  the  artist's  work 
most  deserving  of  serious  consideration. 
Shinn  may  be  accounted  as  being  one 
of  the  modern  masters  of  the  pastel,  and 
as  an  artist  who  realizes  its  great  artistic 
possibilities.  His  sure  and  swift  draughts- 
manship lends  itself  admirably  to  such 
subjects  as  the  streets  of  New  York  and 
Paris  present,  and  it  is  in  these  piclures 
that  we  discover  the  most  personal  ex- 
pression of  the  artist's  genius.  These  are 
intimate  portraits,  executed  in  amazingly 
alluring  and  harmonious  colours,  full  of 
the  distinguishing  traits  of  the  locality,  in 
which  its  very  atmosphere  has  been  re- 
corded. In  characterization  they  are  com- 
parable to  the  realistic  and  penetrating 
studies  of  Raffaelli,  while  the  types  which 


c  61 : 

he  has  introduced  into  these  pictures,  like 
those  of  this  artist,  are  invariably  sympa- 
thetically recorded  and  never  with  the 
bitterness  and  cynicism  of  a  Forain. 

Other  of  the  artist's  pastels  depi<5l  the 
interiors  of  music-halls,  lurid  with  flaring 
cross-lights.  These  are  immensely  clever 
performances,  many  of  them  containing 
beautiful  passages  of  colour  in  which  he 
has  learned  from  Degas  the  artistic  pos- 
sibilities of  the  cafe  chantant,  Shinn  has 
also  made  several  portraits  which  are  al- 
together charming  and  full  of  distinction, 
as  well  as  beautifully  composed, — the 
latter  a  rare  quality  in  modern  art. 

In  the  artist's  gay  little  decorations  in 
red  chalk — that  most  genial  of  all  media, 
and  always  a  favourite  with  the  Old  Mas- 
ters—  we  have  very  charming  souvenirs 
of  the  joyous  days  when  Louis  XVI  sat 
upon  the  throne  of  France.  Shinn  has 


£62   ] 
schooled  himself  well  in  the  traditions  of 

this  enchanted  epoch,  when  it  would  seem 
as  if  taste  must  have  been  a  matter  of 
instin6l :  he  has  studied  intelligently  the 
refleclors  of  the  frivolities  of  the  age, — 
Watteau  and  his  pupils,  Lancret  and  Pa- 
ter and  his  followers,  Boucher  and  Fra- 
gonard.  There  was  a  very  serious  under- 
current in  French  literature  and  life  at 
this  time,  but  one  does  not  perceive  it  in  a 
picture  by  one  of  these  masters.  The  re- 
sults of  the  artist's  investigations  in  these 
contemporary  chronicles  are  surprisingly 
fresh, full  of  vigour,  and  far  removed  from 
mere  tedious  copies.  In  these  graceful 
drawings  the  artist  displays  much  of  the 
same  decorative  feeling  that  is  a  char- 
acteristic of  almost  all  French  art,  and 
which  in  this  particular  group  was  always 
the  paramount  feature. 

Shinn's  studies  in  red  chalk  of  the  nude 


[   63   H 

and  of  lightly  draped  figures  are  bril- 
liantly executed,  and  in  their  powers  of 
suggestion  display  draughtsmanship  of 
a  high  order.  The  great  charm  of  these 
drawings  lies,  however,  in  their  freedom 
from  all  taint  of  the  academic:  the  artist 
has  faithfully  followed  the  precept  to 
learn  anatomy  and  then  forget  it. 


?'    ffi 


I  2 

i    3* 


^  FOUR  HUNDRED  COPIES  PRINTED  IN 
FEBRUARY,  1913,  BYD.B.  UPDIKE  AT  THE 
MERRYMOUNT  PRESS,  BOSTON,  U.  S.  A. 


Extracts  from  Reviews  of 

WHISTLER'S  PASTELS 

AND  OTHER  MODERN  PROFILES 

Whistler  collectors  and  amateurs  of  other  modern  masters  will  be 
anxious  to  possess  a  copy  of  the  small  limited  edition  of  Mr.  A.  E. 
Gallatin's  exquisite  brochure.  .  .  .  Mr.  Gallatin,  need  one  say,  has  an 
uncommon  talent  for  crisp  comment,  for  catching  the  essential  quality 
of  a  thing  of  art  in  a  brief,  sensitive  phrase.  It  is  remarkable  to  con- 
centrate such  a  variety  of  skilled  characterization  of  artists  so  diverse 
in  so  few  —  some  fifty — pages.  Mr.  Richard  Le  Gallienne  in  The  In- 
ternational. 

Mr.  Gallatin  is  always  a  welcome  essayist,  not  only  in  his  genial  and 
enthusiastic  style,  but  in  his  capacity  for  finding  much  interest  in  the 
byways  and  less  frequented  paths  of  artistic  achievement.  His  is  the 
pen  appreciative  that  finds  either  a  new  and  admirable  phase  to  admire 
in  the  work  of  a  much-known  artist,  or  that  discovers  a  less-known 
artist  outright  and  allows  us  to  share  in  the  fruits  of  the  discovery. 
His  criticism  is  selective  to  a  degree  —  even  captious  at  times  —  with 
the  fortunate  result  that  such  gleanings  in  the  field  of  art  as  he  chooses 
to  present  to  the  public  are  always  worthy  of  the  public's  most  polite 
attention.  .  .  .  For  short  and  distinctly  illuminating  essays  on  the  dis- 
criminating appreciation  of  unsuspected  flashes  of  genius  these  scatter- 
ing notes  make  an  enjoyable  bit  of  reading.  Mr.  Charles  Matlack  Price 
in  Arts  and  Decoration. 

Again  Mr.  Gallatin  has  given  us  a  little  volume  of  short  essays,  in- 
timate, delightfully  written  and  charmingly  presented.  .  .  .  The  author 
hag  the  rare  gift  of  being  able  to  say  enough  and  not  too  much,  of  being 
brief  without  being  fragmentary  ;  his  essays  are  sketches,  deftly  made, 
telling  and  individual.  Miss  Leila  Mechlin  in  Art  and  Progress. 

This  little  book  is  printed  with  all  possible  delicacy  and  fineness,  and 
is  a  thoroughly  tasteful  example  of  typography.  Its  reproductions  of 
pastels,  water-colors,  and  chalk  drawings  by  Whistler,  and  of  a  few 
pictures  by  Winslow  Homer  and  others,  are  almost  beyond  praise  in 
their  execution.  Mr.  Gallatin's  discussion  of  the  relative  values  of  these 
pictures  and  predominant  qualities  in  the  methods  of  the  artists  thus 
represented  is  sound  and  interesting.  The  Outlook. 

[OVER 


In  "Whistler's  Pastels  and  Other  Modern  Profiles,"  the  author,  A.  E. 
Gallatin,  has  produced  another  pleasant  little  volume  of  art  essays, 
which  join  with  those  of  his  previous  authorship  in  combining  authority 
of  statement,  sympathy  of  understanding,  and  grace  of  presentation. 
Mr.  Gallatin  has  won  a  unique  niche  for  himself  in  the  pantheon  of 
art  criticism,  and  it  is  always  a  pleasure  to  call  attention  (at  too  rare 
intervals)  to  his  publications.  Mr.  Curtis  Lublin  in  Town  and  Country. 

Mr.  Gallatin  is  a  writer  who  has  achieved  the  art  of  saying  something 
pertinent  in  a  short  space,  and  saying  it  well.  ...  A  crisp,  piquant  style. 
.  .  .  Illuminative  and  always  happily  expressed  reviews.  ...  A  copious 
series  of  well-executed  plates,  many  from  originals  never  before  repro- 
duced, add  much  to  the  charm  of  this  attractive  little  volume.  Con- 
noisseur. 


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